Posted on June 9, 2008 by Dennis Connor in Vibrato - Left Hand/Arm
Both Leonard Rose and Karl Fruh were great teachers of the cello for whom both never wrote any specific published texts as to how to play the cello. For Rose's teaching, the study book, Fundamentals of Cello Teaching and Musical Interpretation, written by Daniel Morganstern would be of use; and for Karl Fruh, the book called Cello by William Pleeth would be most helpful. On the subject of vibrato, this is a difficult subject to capture, because Rose would say the vibrato has as many shades and variations as shades of grey (in subtle variant combinations of black and white); Fruh would say ones vibrato is as individual to the performer as the fingerprint is to the hand. As with the combined sound (composite) that makes a quality cello tone, there is the UUU sound (pronounced like Hoot) that is combine with the ANG sound. In terms of producing these extremes in cello tone, the UUU is linked to the use of the bow with a faster, yet broad stroke away from the bridge, almost a sul tasto sound. The ANG is the intense sound near the bridge with slower bow and more bow preassure. In terms of vibrato the UUU could be correlated to the amplitude (wide width of the vibration) with a slow Wha Wha type of sound. the ANG would be tied to the fast short (narrow) vibration speed with a fast ya,ya,ya,ya,ya etc. sound. These two extremes can be demonstrated and practiced by taking any scale, 2 or 3 octaves (major or minor)(4 slow beats to the bow). Ascend using the slow wide speed (say UUU) internally as you are playing. Descend the scale playing the fast (narrow vibration) and internalize the ANG sound. Then, try the scale again blending the two extremes. The use of the right blend of the two extremes will be dependent on the musical and emotional expression effect one is trying to acheive. Sometimes no vibrato is an effect, or also adding a vibrato only at the end of a sound. Or, try variations alternating the use of vibrato and non-vibrato. Reduce to 2 beats per bow, and practice at various parts of the bow, i.e. Frog, Middle, Tip. Utilize various rhythmic patterms in the scale practice while alternating the speed and usage of the vibrato types. The variations can be almost limitless. This message, like the extremes of the vibrato sound itself is both wide and narrow in scope, yet hopefully will be of help as an approach towards vibrato practice,development and flexibility of usage.
Best Regards, and Happy Practicing
Dennis